In my journey to try to grow as a teacher, I’ve recently been reflecting deeply (i.e. geeking out) on violin pedagogy, music psychology and all the experiences I had as a student under the guidance of my own amazing teachers.
So I decided to start a “Thoughts from the practice room” email that I hope to send out weekly (or most weeks at least!). Here’s my first instalment…
My roots and the person who continues to inspire me
I started to play the violin at age 4, but my most influential teacher came into my life when my family moved to Edmonton in 1989. Ranald Shean took me in as a student when his studio was already full (my first year of lessons were at lunch during the school week), and continued teaching me until the month before he died at age 82. He was a founding member of the Edmonton Symphony Orchestra, founder of the Edmonton Youth Orchestra and alongside his wife, pianist Vera Shean, the pair were among the most influential music educators in Alberta, if not Canada.
But to me, as a child, Mr. Shean was someone who kept challenging me, who always told me that “the sky is the limit!”, who shared his wisdom generously and without reserve, and who, in my last memory of him, still taught me in the midst of chemotherapy fatigue when he had cancelled everyone’s lessons except mine.
His generosity as a teacher guides how I strive to run my studio today.
Beyond technique… why practice doesn’t always yield improvement
A few years ago, a researcher emailed me asking about my time as Mr. Shean’s student.
The researcher’s topic of study was actually one of Mr. Shean’s own teachers, D.C Dounis. I had practiced many of Dounis’ etudes over the years, but this new information about my teacher’s past inspired me to dig deeper into his archives.
As a prolific violin pedagogue with a background in medical studies, Dounis had a very scientific and methodical approach to the practice room, and how to overcome the major barriers that we all encounter as string players.
“How much time could be saved; how much energy could be spared; and how much more profitable would the daily practice be if that feeling of ease, fluency and surety could be had AT THE BEGINNING of the day’s work instead of at the end” (D.C. Dounis)
… which is why my lessons and workshops always START with our fun version of “play anything, anytime” free improvisation, where the only thing you focus on is finding a relaxed centre and bringing awareness and release to any tension you’re holding in your body. And the only thing you listen for is the quality of sound you are making with your bow.
When we have limited time in our practice rooms, Dounis emphasizes that we need to get “into form in a very short space of of time” in order to be fit for the day’s work.
Give it a try!
At the beginning of your practice session, set a 2 minute timer and just play. Aim for mezzo piano dynamic, use full bows, take full deep breaths, and approach this time from a place of curiosity without judgment. Your only aim is to bring awareness and release to any tension you’re holding, and to focus on the quality of sound that is coming from your bow.
Once you achieve a feeling of ease and fluency, add one intention. Perhaps it’s rhythm, perhaps it’s intonation, maybe even a key signature. Always return to the place of ease.